Giuseppe Renda

. Giuseppe Renda, called "l'Aroddu"[1][2] (born in Alcamo on 13 June[3] 1772[3] and dead in Palermo, on 20 October[3] 1805[3]), was an Italian painter

Biography

He was born in a family of farmers [4] and the third son of Antonino di Vito (detto "Arollo"[3]) and Francesca Serro di Giuseppe.[3][5] He was baptizeded with the name Giuseppe Antonino.[3]

His house was located at via Commendatore Leonardo Navarra, called "strada di li putieddi" (the street with small shops) because of the stands which were prepared in this street during the free fair of the Company of Saint James.[1] When young he worked for the cathedral.[2]

He started painting during his adolescence when one day, on a whim, he sketched the portrait of a chapelain on a wall with a charcoal.[2] After he had seen it, Don Benedetto Mangione, the archpriest, sent him to the town authorities.[2] Then he was taken under the patronage of the nobleman Pietro Lombardo[2] and that allowed him to study art with the master Giuseppe Velasquez in Palermo.[2][3] Some people assert that the artist Giuseppe Patania[4]

When he ended his studies he went back to Alcamo, where he realized a lot of paintings with a religious religious background[2] since 1790. His mother died in 1789 and his father married again with Vincenza Pirrello (1790).[1]

In 1796, further to his father’s death, Giuseppe Renda moved to the house in via Rossotti where his sister Antonina lived.[5]

In 1805 he died of tubercolosis in Palermo[1][3] when he was only 33 and was buried in the crypt of the convent of the Capuchins.[1][3]

Works

Giuseppe Renda’s paintings, above all, deal with religious subjects. There are five certain works made by him (three of them provide the date and the author’s name) and 38 are assigned to him.[6] 14 of his paintings have got lost.[7]

Among his works hosted in Alcamo, there are: :

• Madonna con il Bambino, named "Madonna Bella" (Beautiful Madonna,1788), for a votive aedicula in via Maqueda,[32] stolen

In Trapani you can see the Ritratto del Generale Giovan Battista Fardella (Portrait of the general G.B. Fardella) kept at Museo Regionale Pepoli.[4]

At Erice, in the museum of the mother Church, there is an oil painting on a wooden panel assigned to him, representing Saint Isidore Agricola.[33][34]

In the new mother Church of Castelbuono there is an oil painting of Saint Joseph moribund.[16]

An oil painting on copper representing the Immaculate, assigned to Renda, is kept in a private collection in Rome.[18] [21] In a private collection in Rome there is also an oil painting on copper representing the Redeemer.[18]

Two more pictures are in the arcade of the main façade of Villa Belmonte all'Acquasanta near Mount Pellegrino.[21]

See also

Bibliography

References

  1. 1 2 3 4 5 6 Calia, p. 51.
  2. 1 2 3 4 5 6 Comune di Alcamo - Alcamesi illustri
  3. 1 2 3 4 5 6 7 Maurizio Bambina, "Alcamo tra arte e cultura"
  4. 1 2 3 4 5
    Calia
    — p. 11.
  5. 1 2 3 4
    Calia
    — p. 54.
  6. ↑
    Calia
    — pp. 101-105.
  7. ↑
    Calia
    — pp. 106-107.
  8. 1 2 3
    Calia
    — p. 66.
  9. 1 2
    Calia
    — p. 12.
  10. ↑
    Calia
    — p. 59.
  11. ↑
    Calia
    — p. 19.
  12. ↑
    Calia
    — p. 14.
  13. ↑
    Calia
    — p. 15.
  14. ↑
    Calia
    — p. 17.
  15. ↑
    Calia
    — p. 16.
  16. 1 2 3 4 5 6
    Calia
    — p. 87.
  17. 1 2 3 4 5
    Calia
    — p. 76.
  18. 1 2 3
    Calia
    — p. 94.
  19. ↑
    Calia
    — p. 71.
  20. ↑
    Calia
    — p. 20.
  21. 1 2 3 4 5 Galleria Roma - Renda Giuseppe
  22. ↑
    Calia
    — p. 22.
  23. 1 2 3 4 5 6
    Calia
    — p. 83.
  24. 1 2 3 4
    Calia
    — p. 90.
  25. 1 2
    Calia
    — p. 26.
  26. 1 2 Il Museo della Basilica Santa Maria Assunta di Alcamo – il lunedì dell’arte di Kalós
  27. ↑ la Repubblica.it - Arte sacra ad Alcamo uno spazio per ammirarla
  28. ↑ Carlo Cataldo, "Splendori della memoria"
  29. ↑
    Calia
    — p. 10.
  30. ↑
    Calia
    — p. 24.
  31. ↑
    Calia
    — p. 25.
  32. ↑
    Calia
    — p. 70.
  33. ↑
    Vitella
    — p. 43.
  34. ↑
    Calia
    — p. 44.
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